Great video. As I entered my 40's, I started to revisit the music formats I enjoyed in the past. Within the last 2 years got the vinyl setup, cassette tape and looking into reel to reel. I really enjoy the interactive experience with those formats that are not available with digital formats. Thanks again for the information!

I still have my 1974 Akai 4000DS and it still works perfectly even in 2020. The sound quality is outstanding! and the reliability speaks for itself. Did Akai imagine it would last well over 40 years in 1974? Built like a tank and to a standard not a price!

Paper never died. Vinyl is coming back. REEL 2 REEL WILL BE BACK !!!! Calligraphy is back. Woodworking is back. Screw the fake new trends that only are designed with planned obscolescence in mind !!!

I was gifted a 1966 Teac A-1500 Reel to Reel a few decades ago. It was gathering dust in my garage until recently. I'm cleaning it up, and I'm planning to use it again.

Love your walk down memory lane . In 1978 I bought a TEAC - 2300SD . In 1979 I bought a TEAC - 3340 -S . They served me well until 2013 when the motor bearings dried up and seized . In between those years I had worn out the gaps on a few channels .So all 4 heads were replaced . The Memorex , Basf , TDK , Sony ,Maxell and Scotch 3M tapes where the ones I used and still have . When you buy the best tapes the binder never wears out . I can't say the same for the 456 Grand Masters of Ampex . Those binders turned to glue and properly buggered everything up . I had invested heavily due to the claims made by Ampex Corporation . In the end I lost my shirt in that fiasco . I now use Teac cassette decks . Not the same band for the buck , but pretty fine sound for a 68 year old . Yours truly .......Dudley Rathborne

I have a Pioneer RT-1020L machine that works beautifully! Back in the mid70s I owned a Pioneer RT-1050 two track. I miss that machine.

Thanks for taking the time to put this together! I was an avid reel-to-reel collector in the 70's.I have plenty of Ampex & Columbia tapes at 7 1/2. I still have 2 TEAC & 1 Dokorder machines which I haven't touched in years. It's time for eBay. Thanks again for putting this together!

Its a great joy and suprise to so many reel to reel tapes to gather, never seen such a collection in my life , must thanks to the people who has done this

I have a Technics 2-Track, AND an Otari MX-5050, AND a TEAC A3340S. I’m an Oboist/Guitarist. Dad was a professional Pianist. Tape! What a big warm beautiful sound!!!!

It always makes me smile when you say typology. Love it 💗

I've always used a reel to reel. My first recorder I received as a gift, I was 9 years old. I am 57 now and I'm still using them. I have 2 Pioneer decks A RT909 and a RT707. I have a Tascam 32 for 2 track and 15 inches per second speed. You can't beat the sound quality of the 15 ips speed.

Take a shot when he says “typology” 🥃

I agree , reel to reel is much more like a live performance than nearly every other format

I have a Revox A-77 that still works beautifully, purchased in 1974.

When I was a kid a friend of mine introduced me to Reel to Reel. His brother was in Vietnam and had brought home a couple of machines from Japan. He still has them and they have been treated very well. I don't remember brands or capabilities.

I used to be the buyer and general manager of a store in central London called Teletape. We specialised it tape recorders and tapes. We used to import prerecorded reel to reel tapes from America and we also sold the machines to play them. Over time prerecorded reel to reel tapes fell out of favour with the introduction of high end cassette recorders like Nakamichi. A lot of people would buy the vinyl records and make cassette tapes from the records and settle for that.

As an audio / recording engineer with 50+ years' experience, I will only say that were it not for the hiss, wow, and flutter, analogue tape - and the associated audio chain - would certainly be the best sounding of all. The 'sampling rate' is infinitesimal (no nyquist!) and the natural warmth is something few ears now would appreciate. However, these analogue devices were far from "pure" especially the tube ones which added harmonic distortion (of the pleasant 2nd order) and intermodulation distortion. Wonderfully pleasing to the ear, but not accurate. From the moment the sound waves from the particular instrument or voice in the studio impacted the microphone diaphragm (or ribbon), the additions began. Thru the mic and its preamp, to the console input, its preamps, line amps, to the tape machine and it's circuitry, then on the the mag tape, back off the tape through the tape machine back to the console, through the console and back to the mixdown tape machine again. Then to mastering - and before finally being committed to a lacquer groove (where it once again becomes a physical representation of the original soundwaves) a trip through more electronics yet again. Yes, analogue sounded wonderful, but it was anything but true and accurate. Were digital to have sampling rates up in the megacycles, we'd have a better approximation of real analogue sound and without the added distortion. I for one, do not miss the hiss, flutter, and wow....and I sure as shit do not miss doing full record/repro alignments on a Dolby-equipped 24 track tape machine.

I recently got a TEAC A-2300SX for next to nothing. It's in almost perfect condition! It came with a NOS sealed reel, BASF LP35. I swear, unwrapping the cellophane on a 40+ year old tape is surreal.

u are real good thank you J.P.

MAN KEEP UP THE GREAT WORK TAPE GURU!

It's worth mentioning that the continued development of cassette decks was imperative, but even at it's peak the format still never became as good as reel to reel.

Here's a different reel to reel story...I was a 12-year old audio nerd. I had a Wollensak 4-track in my own modest, but decent system. I was wanting so bad to get a pre-recorded reel to reel tape of any rock music possible.so I went with my sister to Birmingham, Alabama because she had to go to her optometrist for her contacts. This was summer of '71. She was looking for some place called Godwin Radio that was supposedly stocking some pre-recorded reel to reel titles. Some girl ran a red light turning in front of us (she was to only turn when it was green and clear) and me an my sister ran into the front corner of her. It crushed the front end of my sister's Kharman Ghia (orange no less) which was less than two years old. Thank goodness we were safe but the other driver had no insurance which was not unusual back in those days. So to this day, and I'm 60 now, I've never bought a pre-recorded reel to reel tape yet I still have a reel to reel macine.

I am also a fan of tape....I currently have 2 Pioneer RT-1020s, a Pioneer RT-707, and a TEAC X-1000R (w/dbx). Also a couple of high-end cassette decks, a Pioneer CT-F1250, and a TEAC R888-X. Love `em all ! :-) The best-quality pre-recorded R2R tape in my collection is "Vivaldi`s Four Seasons", with Lorin Mazel directing the Orchestra National de France, Sound quality is incredible. Thanks for sharing your videos !

my fav is old analogue 45,s but i did hear a reel to reel as a kid & my memory was it sounded much better than tape cassette.but a very very long time ago but me im getting into recording so i have an old tape 8 track.but put it this way everything was recorded using tape fuji tape has stood the test of time & sounds as good as the day it was recorded.also i was recently just given a box of about 100 old tapes by my mums friend.some rare ones for sure all of them are the faster tapes so i might get a machine & listen also the machine look,s great fine post peace...

I have 12 machines in my stable. Yes... I love tape!

You need to make a t-shirt that just says "Typology"

Cavolo, ma sei Italiano! Hai tutta la mia stima, sempre più raro trovare gente appassionata e che faccia questi generi di video, così ben spiegati. Corro a vedere la seconda parte.

I own master reels of unreleased songs from a legendary Detroit boogie funk artist from the 80s. One of his 12-inch singles sells for over 700 USD every time it hits eBay. Truly one of my greatest finds.

Ahh the 70s. My bud was running crowns. 2 of each dc60, dc150 , dc300. On jbl components. Including 15 inch woofers. Recorded vynil on a a77 at 15ips.. tt was a thorens with an sme arm and shure v15 , stanton 681eee and a few others. . Source was vynil masters.

I am lucky to have a working Akai GX-747 purchased in Germany early 80's. I am having it restored by Muse Audio Service located in Ann Arbor, Michigan. I cannot wait to get it back from these talented folks at Muse. The 747 is an awesome tape player/recorder, I am using a DBX noise reduction unit with it and a DBX 1BX as well. I kick my self for not getting the DBX 3BX when I had the chance. Reel to Reel is the way to go...

I love tape. I still do more tape than most humans. I got into the consumer 4 tracks several years ago. They CAN sound amazing, but they rarely do. The tapes were usually bin looped and very little care was taken in production. The B side program material leaking througb in quiet spots is really a killer for me. No matter how well your machine is setup, its gonna happen. They were usually made with low levels to keep bleed and other problems minimized. That means a higher noise floor. That being said, I have videos of bunches of them over on my channel. I finally gave up uploading them all, because YT strikes them. I transferred my collection to DSD and havent looked back.

Reel to reel is awesome but its not convenient at all. Its a fun toy but after a few times of feeding tape most will loose interest. Plus then there is the lack of supplies that make it even less useful. It also changes the sound of what you record onto it. Each tape formulation will have its own sound and that's not a good thing if you are trying to preserve something to sound as close as possible to the original. This does not matter for studio recording instruments, that would be part of its sound. Making copys each time it will sound different. I have experimented with tape and it was by no means a hi-end unit but the results were good. Recording records or CDs to tape changes the sound in a noticeable way, not bad but not good at the same time. I think the best use for these back in the day would be for recording new records the first time they are played and then you could use it for dumping to cassettes and so on. It buy no means is better than CD or other digital formats. If you learn how tape records information it is not that all different from digital sampling. As the tape moves it captures frequencies, let say you want to capture up to 25khz on 1 inch of tape. It then will have 25 thousands slices of audio spread out over 1 inch of tape. Doesn't sound to different that digital capturing 44,100 samples per second now does it. Now I am not hating on tape. Its fun, it sounds good. But just want to be realistic about its capabilities and usefulness. By all means play with it and have fun, that's they best part of any format.

Thank you for your introduction .... i am an audio engineer .... actually the digital music destroyed the quality and culture of analog music , because the new generation don't know about the quality and the old analog quality machines and music

I for one would love to see more time spent on the Technics RS - 1500 through 1800 series, their qualities and what it was about them, that made them so darn good and sought after. Thanks!

If I may, I'd like to make an important observation concerning magnetic tape. First, all decks are slightly different when it comes to play, rewind, and fast forward tension. The decks were older, and so are the reels. So, because of tension differences between decks, and playing a reel that hasn't been played on YOUR deck, I suggest playing at correct play speed in both directions BEFORE you use the fast forward or rewind functions. That is one sure way to break a tape, or stretch the tape, both undesirable! How was the tape stored in the last 40-70 years? A garage in Michigan? An attic in Louisiana? Some tape manufacturers were better than others in thickness, oxide particles etc. I recently got a batch of records that included a professional 1/4" 10" reel. The tape was like ...sticky tape! As if it was soaked in glue. I unscrewed the reel and the tape was as solid as a rock. I threw out the solidified tape and gained a Scotch 10" empty reel :-)

I have an Ampex AG-350 2 track Studio machine,a Revox B77, an Otari MX5050II, a Pioneer 1020 and 909,and an AKAI GX747Dbx. So I am well endowed with good equipment.I have all kinds of tapes in 2 and 4 track,recorded anywhere from 3-3/4 ips to 15.Although my Akai excels at the slowest speed in both record and playback,there is a distinct audible difference between 3-3/4 and 7-1/2 ips..Also between 2 and 4 track.,even when both are at 7-1/2.The 15 ips 2-track tapes reign supreme on the Ampex,the sound is so open and airy.Tape,particularly the open reel format is,over the long run,the more durable medium-my now 60+ year- old RCA Red Seal 2 track tapes STILL sound fantastic!

I haven't met anything that sounds as good as my Teac 3340s

I have a Roberts 778X. It's a Great machine. Has the 8 Track in the side and works Great. I have the 15ips capstan drive also.

You sure love the word "typology". Very educative video btw.

It is why I liked computer type of a reel to reel, you need just to put a tape on and the rest will be done by the mechanism itself. It is a very convenient.

Open to reel the best format.

Nice I never new about the different speed on those tape I know they sound good but I never bought one cus is expensive n hard to find those tape on the music I like that dope bro fresh 👍😎

Incredible information! What a lesson! Thank you 🤟

I do think prior to HD music (i.e. anything digital at higher than CD resolution) reel to reel tape was the best format for a consumer to get as close to the original master 2-channel mix down tape known as a master. The master used for dubbing is usually a 2nd generation master from the studio's original and safety masters which are first generation. These 2nd generation masters where often sent to the various houses that made LP. assorted cassette/cartridge type tapes, and finally reel to reel. These were very high resolution masters by far and large because of the fact everything that would reach the public spawns from these and the final product can only be quality if the dubbing masters are such - so don't get hung-up on these being 2nd generation masters. Now here's where the reel to reel pre-recorded tapes for the consumer begins as the dubbing master will be loaded on a high-speed replication system. This whole process is designed to make many copies as inexpensively as possible. To do this the machinery is very good indeed as to get the proper tape saturation at higher than real time actual playing speed. Some degradation is a given but besides that one problem, that of wow and flutter, is almost entirely eliminated on high speed dubbing. Basically even with this duplication process a fine reel to reel consumer tape can be made. Here's where the consumer actually never got the best tape possible. Early on in the marketing of reel to reel for the mass market it was decided to go to 4-tracks. First using staggered heads (not worth exploring particularly here) and the to in-line heads. This was done for economics because a four track tape as opposed to the superior two-track could give double the recording time by simply flipping the reel and playing both sides. Simple physics play into the fact that narrower tracks could not be saturated as greatly which affected the fidelity a good bit. Still tape, as long as it moves across the heads fast enough, can still sound wonderful with the 4-track system. This was is where the quality took it's final hit as record companies switched from the early speed of 7.5 inches per second to 3 3/4 ips. While these may have sounded pretty good they didn't approach the quality that reel to reel was capable of. As an avid home recorder of the seventies I felt I could make a better sounding tape dubbing from albums than I could buy. Let it be known I loved reel to reel and owned two different machines during my teenage years. I do think, however, many potential buyers might have never pulled the trigger and bought a reel to reel tape. Albums grew exponentially in popularity which many wonder if the generally high cost of entry into the reel to reel world was worth it. After all reel to reel machines were quite complicated as seen by the general public. The unique combination of tons of mechanical linkages and inner electronics were expensive and required maintenance. Not so much with a record player. The final decline was when the compact cassette took off. It wasn't outwardly complicated at all and it was portable. Two things reel to reel could never be. Players and recorders were relatively inexpensive compared to the big reel to reel decks. So, most folks never heard reel to reel at it's best. My pick for the best sound is 2-track on 10.5 reels running at no less than 7.5 inches per second and even better at 15 inches per second. Either of these speeds could resolve the full-range of a human's hearing and could sound great without any additional noise reduction. Right now many recordings are being re-released in HD digital formats. I'd wager you could make the best reel to reel recording of, let's say Led Zeppelin II, by using a good D/A to make an analog reel to reel copy of this album on a well preserved and maintained 2-track reel to reel deck at 15 inches per second. It would almost have to be better than the original reel to reel tape of this album which was a 4-track high speed duplicated tape running at 7.5 inches per second. The only question is why would anyone do this? Well, if you're like me and loved the format you may want to do it simply as an experiment to see how good analog (i.e warm sounding) reel to reel could actually can be. Other than that reel to reel is a dead medium for consumers for many reasons not the least of which only one new machine is currently being made (the audio manufacturers quit making any new reel to reels as a whole around 1984) and that new machine will cost you between $15K and $25K depending on the options you choose. This new machine is the Ballfinger reel to reel and it's a zinger by all accounts. There is also the United Audio Group who totally re-manufacture old very high-spec decks and there prices aren't much less than the Ballfinger. I have enjoyed my time in audio for many years and a chunk of that was messing with reel to reel decks...but, that time has passed and I'm totally enjoying HD streaming music now so, like most folks the reel to reel format will remain a piece of history.

Hi, thank you for the great series, I am just starting to try reel to reel thanks to your videos!

Jesus, it’s FIVE YEARS since you published this video! I’m not sure if you are going to see this question… What do you think of the Fostex E-2? 2 track, 15ips, 10.5” reel. In case you see it, thanks a lot for your comment! Keep up the good work!

Nice!!! Wow i love this channel ✌ Soon you'll have me hooked on this type of equipment 😅

Lots of great decks out there. Tandberg makes some great ones.

1970s technology, no new recordings since then. eye wateringly expensive media. This format is nuts.

That's a nice machine! I really like your detailed instructions.

Great

Could you imagine if they made metal tapes for these

I was so impressed with the Techniics RS 1500 US that I got two of them. Paid $950.00 for the first one, six months later, got the second one for $1000.00. Used to record material on one and then doing post production used the second machine. Both were half track models. Also had a 1/4 track for final copies. A 8 track and a cassette were used too. The top end of these fine machines is what grabbed me. Well above the 20K limit of human hearing. Yhe only thing better than these marvels was CD's. Their spec's were and still impressive. Flat 20 to 20K +- - 1hz. S/N below 90 db.

Regarding my little experiences i can say that it's the magnetics tape which is really fabulous over the devices type. ATR claims about 80Milp/s at 15 ips. That's way beyond our 5MilBit/s at 192/24Bit or even 10MilBit/s at 384Khz/24Bit. (Not interpolated) Even the new cassettes are about 10-12MilParticle/s at 1/78IPS. So 4 tracks are easily between 20-40MilParticle/s at 3.75/7.5IPS And 2 tracks wide dynamics and 80/160MilParticle at 15/30IPS Even the 8 tracks cartridge is good because 3.75IPS and dolby B (better than cassette with latest gears or recorded directly from a eigth tracks reel to reel of course well biased) The issue with these devices is that in quite all of them, there is only one bias settings (only some of them like the PR-99 have these settings per speed and easily available) which is set regarding the fastest speed. They seems to thought that the bias adjust feature was not necessary, or something like else. But in fact it is. I plan to modify my decks to add them a bias adujt potentiometer (For quite all of them it's easy, just replace the tape type selector by a potentiometer well connected where you have to to get +/- 20% of reference bias) like in cassette recorder but not by tape type, but by tape speed (Tape type would directly included, and it' allow old tape and new tape recording if needed) in order to get the best of them at all speed and i'm sure i can get the 1/78 speed of 4 tracks player get as good as cassette... (I now undestand why they heavily used the 1/78 speed for FBI recording, the machine must had been adujted regarding the bias) After that it's a question of means. Today the best affortable magnetics quality for consumer is the cassette. Next is the 8 tracks but no more support... And 4 tracks, too expensive in terms of devices and support. The last is 2 track only for proffesionnal/Vinyle production people also very expensive. Also the need of such quality for consummer is today questionnable because there are used to hear AAC/MP3 whose are 44/48Khz with a very poor datarate like 0.32MilBIT/s (Best MP3) And studio makers works at 5MilBIT/s but quite not all, a lots are about 2.5MilBIT/s... So their isn't any interest putting 2.5MilBIT/s on a 160MilParticle/s Tape well biased!!! That's only good for full analog chain!!!, or master tapes and again it's questionnable regarding the source (Dapft punk on a 15 IPS master tape, i hope they are in full analog because with the best of the best motu you don't go better than 5MilBIT/s even if they claim about 25MilBIT/s interpolated input/output datarate, and cubase pro audio engine cut at 50Khz analog bandwidth, so well biased a 7.5IPS was enought, but if you have the money!!!). For the consummers it's a vinyl copy on tape, or 10-20MilBIT/S sources (more coslty i think than a vinyl) There is even labels like Data-disc whose are pushing 1.2MilBIT/S into some vinyls!!! (CD), and even with my informations didn't changes it 's production way!!! I can confirm the more Mil (Particle or BIT)/s have the source the best it will sound on the tape. See my cassette mixtape, sources are about 10MilBIT/s (of course not the original ones posted on youtube) (Not finished, need a new demagnetizer) Of course it's stay the natural aliasing of poor datarate sources into analog format!! In summary yes, analog sound is the best HIFI format, but with a cost and you need the sources!!! NB: Approximate calculated values for the MilParticle from references (ATR and DSD format) NB2: Please don't hesitate to tick me when i do a huge mistake, i'm a human, as imperfect as the word means.

Very informative video!!

Man your killing me, I want to buy some.

nice recorder you have!

Great video! I am looking forward to seeing the next videos in the series. I have a TEAC A-1500-W reel to reel in beautiful shape. I have been running FLAC files through a Cambridge Audio upsampling DAC, and recording onto high bias tapes. I have been getting some great sounding recordings! I like 7 1/2 IPS also. Thank You much for the video!

I agree I'm getting a akai gx 210D. I still enjoy LP

Excellent and informative video, thanks for your efforts. Keep up the great work 👍

i love reel to reel tape deck I have a PIONER RT 707 AUTO RIVERSE in very good consition & 100 recorder 1800 music tapes

Get a 7 inch deck if you want to try out or learn more about reel to reel. You can find some not bad decks for cheap. You may find that reel to reel is not your cup of tea. Most of all is to have fun with this format. 🙂 Cheers Greg

uses for reel-2-reel: copying borrowed up's, making analog mix tapes, recording live performances. the only way a reel-2-reel makes sense now, is if the music companies start mass producing albums in that format. and they might just do that (if they aren't already) given the money audiophiles would gladly pay for them. what would be a good price for a newly produced album on r-2-r, $25, $35? maybe even $50 for a very desirable album. Of course, the big money and volume would be if the music companies made tapes on demand :)

If you get an akai gx you don't have to worry about heads being worn out cause they don't on these models

Hello, you doing really great job!!! Excellent knowledge base for people who don’t know to much, but love music and want to get better and better. What you suggest about first real to real tape deck. I won’t to start but don’t know with what.

Lots of good information thanks a lot. last year I got ahold of a Tascam 32 2 Channel I think it just needs a belt and some lubrication should be good to go thanks again.

In vietnam 🇻🇳 love ❤ teac

My Dear friend at ANA/DIA/LOG. Even I had watched your Video earlier, but since I have no one to turn and ask a question, I took the opportunity to ask you. I have three Amplifiers. Two in my bedroom, SONY Amplifier/Receiver, and KENWOOD (maybe 1970 )only amplifier no receiver. I hooked my two KEF Q series(4ohm) speaker to the KENWOOD, and sounds fantastic; clear crisp, balanced sound. Great bass, great treble. In one word, full body sound. When I hooked my speakers to the ONKYO AMP/RECEIVER, and also to my SONY AMP/RECEIVER both have 4 to 8ohms, the sound on both is "cloudy" it is not like the KENWOOD. You think the SONY and the ONKYO has receivers that is why? . Please let me know about this because I am waiting to buy the new ONKYO A-9110 amplifier. I know you are busy, but no rush. I forgot to mention above. I also have ONKYO Receiver/Amplifier. Thank You, your friend, Krikor.

love my reel to reel, just a cheap old Sony, but I made some videos with it too.

I have 2 TEAC 80-8's that I bought for my coffeehouse. I was going to get at least one of them working properly and even bought some spare parts. I am just too old to mess with it. They are 8 channels which is what I wanted for live music recordings. I have so many other decks to deal with.

Enjoyed your video. I recently uncovered an analog studio "barn find" of sorts in a real estate transaction. Abandoned studio with stacks of tapes and reel to reels as well as instruments. I shot a video yesterday in the dark with a flashlight. No power in there yet. If it's something of interest to you, it might be worth a look. I hope to uncover some of the mysteries about it.

i had a Voice Of Music Circa 1953 reel-to-reel i loved it

Hi you seem like someone best to ask this question. I would like to buy a Reel to Reel for sampling my music back into my DAW when working with music to give it some tape love. Would I be ok with something like an Akai 4000D for example using 7.5ips or would you say something like a Otari Mx5050 2 track would be much better? Like is there a huge difference in what I'll be using it for. Running vocals, drums and various stems to gain some tape love and experimentation? Maybe you haven't used these machines in this way. Thank you in advance and great video.

I think the people that spend $15,000+ on TT's and styli would argue that vehemently with you. A fair analog shootout would be some of these reissue 180 gram+ records played back on those high-end TT's versus the best tapes you could muster on a prosumer deck of your choice (same music).....both played back through the same system, at the same sound levels, using a A/B/X Double-blind listening test. Otherwise, this is just he said, she said conjecture.

I love my Teac 2300s

My dad had a Studer Revox 2 track reel to reel. ;) Unfortunately it finally gave up the ghost. I have a 4 track machine but obviously won't be able to play his extensive 2 track library.

I'm sorry my ignorance or fool question, I'm from Brazil, but what is exactly the meaning of 4 tracks? Are you talking about what? Thank you a lot!

Sorry I went digital. Analog reel to reel machines I used to own were great but getting parts such as tape heads, pinch rollers, belts, and other parts are real challenge. Ballfinger reel to reel new machines are great but can you get Ampex 456 audio tape that was the best reel to reel audio tape. At least Ballfinger reel to reel machines you can get parts for it. But if you decide to get a Ballfinger reel to reel machine be sure to buy lots of spare parts such as many sets of tapes heads, pinch rollers, and belts. I do digital field recordings using a gaming laptop computer with SSD's. I rent Tascam 20X20 Digital audio interfaces to record live to 16 channels live bands reggae, jazz, R&B. live to two channels with a Mackie 16 channel mixer and a Sound Blaster SB1240 2 channel digital audio interface some bands mostly podcasts. I have 16 ElectroVoice RE27 N/D microphones the best microphones for digital recordings. I used Analog reel to reel machines that were great but you have to deal with that signal to noise ratio that is less than 70DB, 24bit digital audio is greater than 125DB signal to noise ratio..

The best format

I have AKAI GX650D and I love it!

Analog tape is better in my opinion because word clock doesn't exist. AD/DA doesn't exist, quantization error doesn't exist, sampling doesn't exist. The sound is just there, it just exists. It doesn't need an operating system. It is neither windows or MAC. Same with film for video or photography.

Anyone thats interested how Revox 77 recordings on vinyl could search for early classic ( folk or other ) BIS vinyls - I think the first 50 or 100? in the catalog was analogy recorded and made into vinyl .You should look out for the label where its say BIS under there is like LP-4 (a77 recording)LP-155(a77)or LP-285 which seems to be"digital and digital metal mastering (DMM) .

It's a good archival format too. For historical thingies and important audio :3

I have a half track Revox B77. What were they smoking when they came up with the four track? These units are and can be unnecessarily-complicated - especially with auto reverse.

What, if i have a Tape for Mastering Use. Could i maybe take my Taperecorder to a live concert and record the show. Is that possible? Im still disturbed by these three types of tape with the different nanowebmeter. Changing the azymet for every kind of tape sucks. There must be an easier solution.

I would be interested in knowing how often you clean your tape path and heads? For instance, do you follow the same cleaning procedure with your reel to reel tapes that you do with your vinyl records? In my own experience the tapes we buy on eBay are quite old. I find playing these tapes leaves more of an oxide trail than compared to playing brand new tapes. I am cleaning my reel to reel deck more often than I ever used to just to keep from having a build up of gunge on the tape path and heads - which as you know, if left uncleaned over time will create a buildup of dirt that will affect sound reproduction.

good video

My first reel to reel was a Tanberg in 1967. By the way we called that a take up reel not a pick up reel.

Thank you so much for posting this - I was hearing about this format and I'm learning so much. Do you have any tips on where to find 7 1/2 inch pre-recorded for a good price as well as blank quality tapes? I'm considering getting an Otari MX5050 (not sure on the model yet but likely the BQ ii2 model..) I am open to any suggestions on machine too, but I really like that the Otari seems so serviceable and parts are readily available.

If i want the best quality recording , do i need then dbx or dolby , or is recording without these better.

Great explanation, thanks!

Just come across your channel great tutorial and explanation how the different systems work looking forward to watching more as I catch up with your channel. I could do with a bit of advice I bought a Akai GX4000D with quite a few tapes it sounds great and records fantastic not problems. I just have one issue which i could do with some help please it's with one of the breaks it goes fast forward and stops perfect no slack tape. It rewinds and stops perfect no slack tape. But when I play a tape and stop it sometimes it leaves some slack tape just after the pinch roller is this one of the breaks and if so which break do you think requires adjustment will it be the tape up spool or the supply spool as its hard to tell when watching it. Thanks in advance keep up the good stuff i have lots to learn about this great hobby.

sony tc-399 for $2.50 a single missing knob and all of the worm screws are missing head is good motor and mechanical rock solid casing is nearly flawless i cant think of a better way of spending this amount

I recently bought an Akai 4000DS MK2. It's my first experience with r2r. It's in lovely condition, fully serviced and working fine. I am still exploring this way of analogue music reproduction and learning from your channel. One question at this point: if I want to buy new tapes, which brands and types do you suggest?

I’m considering buying a stereo reel to reel machine, but is it going to be better than a cassette deck with Dolby S ? I had a mono reel to reel fidelity machine for Christmas in the 1970’s it was a 4 track machines that ran at 3and 3 quarters IPs and remember it being vastly superior to the cassette machine of the day .

I was today years old when I discovered a word called 'typology'

What Model do you suggested for a High End Freak but a simple audiophile Music Lover? Merry Christmas. Jan

Unlike auto reverse cassette tape decks the heads do not move or turn in reel to reel decks. They are fixed in place. Example like Akai GX-635D which has playback, record and erase heads for each direction. So 6 heads in total. When calibrated correctly they stay that way just fine, so there should not be any azimuth issues. Also don't ever take spools with both of them having tape loaded. It is better to wind one completely, then swap the reels and load the tape manually again. Fiddling with spools like that is a nice way to drop them, damage the tape over something etc....

Nice Shirley Scott !!

Instead of having to move the tape past a stationary head at a high rate of speed to get good quality sound, why didn't they go down the road of VCR's where they moved the tape slowly past a spinning tape head mounted on the head drum?